Album Review: Monsterworks - Black Swan Annihilation

In the grand scheme of things, I haven't been a critic for all that much time. A few years is really nothing, but it is enough time to have cycled through several bands, where you get to cover multiple albums, which shows the evolution of both time and music. And then there is a band like Monsterworks, who puts out records at a steady and rapid clip, to the point where I'm honestly not sure how many times I've come across them now. What I can say is that they release music often enough that the vivid freshness I felt the first time I heard them is a thing of the past, and the uniqueness they possess has blended together. Each record has been less thrilling than the last, precisely because I know I'm going to be hearing it again not too long from now. But still, I soldier on.

The theme of this record is destruction, and the fall of mankind, which should tell you about how uplifting the music is going to be. "Immortalist" kicks the record off with all the usual Monsterworks tropes. There's a few classic metal riffs, plenty of growled and shrieked vocals, and a structure that wanders off the straight and narrow. It's expectedly schizophrenic, which is a sentence that I think says everything there is to say about Monsterworks at this point. If you know going in that the songs will not always make sense, and will be a bit crazy, the effect is completely dulled.

Much of that could be overcome, however, if the songs were as sharp and as focused as they were on "Album Of Man", but that has not been the case since then. Each album since then has stripped away the elements of fun and catchiness, in favor of an approach that is more serious, but more boring. By becoming so singularly death metal focused in the vocals, the songs rarely, if ever, have any hooks that would make this enjoyable to sit through. Even in comics, The Joker is usually trying to have a good time.

The problem Monsterworks has always had is that their approach to 'supermetal' is so diverse that you have to be a fan of every influence they draw from to truly enjoy the records they make. That's a recipe for failure, and this record doesn't do much to persuade me they know the right direction to go anymore. As a death metal band, they aren't particularly ferocious, and as a regular metal band, they aren't particularly melodic. Instead of juxtaposing the light and dark, they've muddled everything into a muddy grayish brown. This record is sort of like looking at a mud puddle after a soaking rain, rather than looking up to the rainbow in the sky.

That's the poetic way of saying that there isn't anything about "Black Swan Annihilation" I would recommend. It's a record that only serves to remind me of the power of first impressions, and that if you want to hear what Monsterworks sound should be, "Album Of Man" is the only record you need to bother with.

Album Review: Cyborg Octopus - "Learning to Breathe"

Okay, when you name your band Cyborg Octopus, that’s an easy way to get attention, especially among a crowd that’s looking for something that stands out amidst the masses.  Let’s face it, if we here at this site are being honest, the mere name of the band is probably fifty percent of the reason we’re here talking about them in the first place.  The other fifty percent has to do with the band’s ambitious press, which roughly calls the outfit a progressive thrash-funk sextet.  The combination of those words feels all but impossible, but hey, this is 2016 and let’s all keep an open mind.  With that, the band has recently released their new record “Learning to Breathe.”

But that happy boasting about the band and their capacity for creation ultimately becomes a drawback, because while Cyborg Octopus is a decent band, and their new record isn’t a terrible listen, the immediate issue if that they’re not the band they want you to believe they are.  Too often the sides of their personality give way to each other rather than mix, creating an album that possesses different faces, but not the ones advertised.  Even within the opening track “Data_M1nefield,” there are really catchy thrash parts and a nicely juxtaposed old school rock harmonic solo, but the only funk within is momentary and separate from the material around it.

Now, that particular drawback can be overcome if the content contained within is good enough to stand on its own merits, in its own image.  Does “Learn to Breathe” measure up?  There are great moments on this record, “DiscoBrain!” for one, when Cyborg Octopus manages to truly take hold of one of their parts and turn it into something that moves the body appreciably.  “DiscoBrain!” is really the only track that gives us a full flavor of what the press wanted us to believe was possible for this album.

Other than that, the best moments seem to happen when the band embraces the thrash half of their personality, injecting their record with real groove reminiscent of the halcyon days of thrash riffing.  “Shark Pit,” minus some connecting tissue that doesn’t necessarily fit, is a really nice thrash song in the traditional sense, with an intelligible but fast-paced riff, the classic snare gallop and some open space to the make the riff breathe.

Too often Cyborg Octopus gets caught up in trying to reach beyond the margins, which is admirable, but only if it fits.  There are multiple sections of either piano or feigned (real?) harpsichord and while those are somewhat interesting for their placement, the rhythm beneath tends to immediately devolve into a handful of simple chugs.

So, what we end up with is a record that isn’t a disappointment, but also doesn’t live up to the hype.  In their best moments, Cyborg Octopus can be a very good, catchy metal band, but there aren’t quite enough of these to offer unilateral commendation of “Learning to Breathe.”

Album Review: Widow - Carved In Stone

One of the things that annoys me about the metal scene is that when you hear a band describe themselves as playing traditional/classic metal, you can interpret that as code for playing loud without knowing how to write a song. There are countless bands out there that think a riff is all you need to have a metal song. They forget that the great metal bands of yesteryear were influenced by rock bands that were all about songwriting, and that Priest and Maiden live on because they wrong great songs. Metal used to be all about that, but not so much anymore.

But then we get bands like Widow, who actually play classic metal in the classic form, the kind of metal that could have gotten radio attention on rock stations back in 1986. I don't remember how I came across their previous album, "Life's Blood", but it's one that has stuck with me these last few years as a prime example of what classic heavy metal can still be in today's world.

After the old-school acoustic introduction, "Burning Star" introduces us to the classic Widow sound; slightly raw production, vocals that remind me of a more restrained Urban Breed, and hooks for days. The verses on this song are as catchy as many band's choruses, and the main hook has the kind of infectious energy that you can easily imagine a crowd of fans singing along with in a crowded club. There's a sense of fun that comes through that reminds me of what metal was always supposed to be.

The one downside to Widow's sound is that, with the exception of the more acoustic "Time On Your Side", there is very little to differentiate the songs from one another. They begin to blend into each other to create one solid block of music. The melodic writing hits many of the same notes from song to song, so even the hooks begin to sound the same as the album progresses. They're all good songs, but after a while you start wondering if you've already heard that song. And if you were around for the last album, this one will almost give you a sense of deja vu.

That said, if you like old-school heavy metal that won't make you want to put on corpse paint and mourn the loss of your favorite genre, Widow is a good choice. They consistently put out catchy heavy metal that hearkens back to the best attributes of the olden days. Sure, they have their issues, like everyone else does, but they deliver an enjoyable product. I would rate "Life's Blood" as a better record, but "Carved In Stone" is still an enjoyable record that does the job it's expected to. I'm not complaining in the slightest.

The Top Albums Of 2016... So Far

As we approach the midpoint of the year, it's time to organize our thoughts and get ready for what the second half of the year has to offer. So far in 2016, there have been albums that have amazed, albums that have confused, and albums that have bitterly disappointed. I don't want to be negative, so let's not dwell on the albums that have made reservations to be included on my worst albums of the year list com December. Let's instead focus on what has been good so far.

There have been a lot of good albums. Bands such as Sunstorm, Sunburst, Redemption, The New Roses, and Myrath have all released albums that deserve a mention. Some of them will sadly get passed by in the coming months, but that doesn't mean they aren't still well worth your time. They are not, however, my absolute favorites so far. That honor would go to the following albums, presented in alphabetical order, so as not to spoil the fun down the road:

Avantasia - Ghostlights

Coming off a disappointing record, Tobi bounced back with one of the best pieces of work in his career. "Ghostlights" is an adventurous record that expands the Avantasia world while retaining the heart of the band, and providing some truly remarkable songs. Tobi is one of the best writers of melody in metal, and he proves that time and time again here. Songs like "The Haunting" and "Master Of The Pendulum" are unforgettable, and the majority of the guest stars add to the album's success. After all these years, Avantasia may have made their masterpiece.

Elton John - Wonderful Crazy Night

Elton John had a career renaissance that resulted in two albums that went criminally overlooked, "Peachtree Road" and "The Captain And The Kid". Those records are hallmarks of expert songwriting, and sadly relics of a bygone time. After a few years in the weeds, Elton returned to form, and put out a remarkably strong album. This might be a mature form of rocking, but Elton is so skilled at wringing a melody until it works that the album melds together into a beautiful whole. It takes courage for an artist of his vintage to keep making records, but when they turn out like this, we have to pay our thanks.

Forever Still - Tied Down

Modern rock is a tricky genre for me, given its penchant for dark sonics. Forever Still is the perfect antidote for the plagues of the genre, as they have made a record that I can say should be garnering massive radio airplay, without meaning it as an insult. Maja Shining is an exceptional vocalist, and she imbues these songs with power, grace, and an ear for a captivating melody. This isn't easy to pull off, as Halestorm proved with their failure last year, but Forever Still has it come naturally to them. "Tied Down" is a harbinger of an ocean of promise. In fact, the only problem with the album is that I don't have a copy of the CD sitting on my shelf yet.

Nordic Union - Nordic Union

It's no secret that I am still, at heart, a fan of pop music with a strong guitar presence. That is what Nordic Union delivers. The combination of Erik Martenssen of Eclipse and Ronnie Atkins of Pretty Maids, "Nordic Union" is an album of some of the slickest, catchiest rock/metal you will ever hear. Every song is an earworm in waiting, and there's enough metallic crunch to scratch the itch. This is not an album that reaches for artistic brilliance, nor is it one that will generate buzz, but it is an album that is an immense pleasure to listen to. It puts a smile on your face.

Volbeat - Seal The Deal & Let's Boogie

When Volbeat came on the scene, I loved their mix of metal and old-school rock and roll. It was unique, interesting, and addictive. But over the course of their career, they have gotten less so, to the point where I can't recall their last two albums. This is no longer the same Volbeat that made "Guitar Gangsters & Cadillac Blood", but they have found their footing. Now a strictly radio rock band, Volbeat has honed their songwriting chops and hit upon a winning formula. These songs are not what you might expect to be hearing from Volbeat, but they deliver huge hooks song after song. If Volbeat has been looking to break through the glass ceiling rock bands face in the mainstream, this album could very well do it.

Zakk Wylde - Book Of Shadows II

I initially wrote a positive, but cautious, review of this album. As I listened to it more and more, it kept growing, to the point where I had to write an apology for being wrong in my initial judgment. I have never been a fan of anything Zakk has done before, but this album has struck a chord with me. It is mellow, but it still rocks. It is beautiful, but it has enough grit to still resonate with rock fans. It has ripping solos, but stirring melodies. For a moment in time, Zakk has found a well of inspiration, and written the best songs of his life. All the limitations he has as a singer work to his advantage here, and he delivers songs that find the perfect balance of cold autumn regret and sunny summer hope. It really is a stunning album.

And now that I've separated the wheat from the chaff, let's continue onward and see what else contends for year-end honors.

Album Review: Airbag - Disconnected

In recent years, there's been a steady uptick in the number of bands, and the attention they get, playing a style of progressive rock that I suppose could redundantly be called neo-neo-prog. They are bands that take their cues from the neo-prog bands of the 80s, like Marillion, and who have been thankfully keep prog from becoming about nothing but instrumental excess. Bands like Anathema have turned this style into something that is not only critically acclaimed, but something that can also attract a sizeable audience. Airbag isn't yet at that level, but this, their fourth album, is the time when they need to be taking that big step forward.

"Killer" is the first of the six songs that stretch out and make up the album. What it does is show us the Airbag sound, atmospheric, relaxed, and focused on building something bigger than a riff that will make a good instructional video. That comes through strongest on the solo, which is only a few notes that get bent into a melody. Speaking of melody, Airbag does a much better job than most prog bands of making sure they provide their vocalist strong enough melodies to justify his inclusion. The hook isn't the sticky bit I would like, but it's a pleasant and soothing melody that certainly fits the tone. What I don't like so much is that the song ends with a roughly four minute instrumental section that doesn't provide much resolution to the song. It doesn't feel like it builds to a satisfying ending. Coming back to the melody once more would have been much more effective.

The opening minutes of "Broken", with the strummed acoustic guitars and nearly broken vocals, sounds like it could have come straight off a Steven Wilson record. And like a Wilson record, everything that Airbag does takes a long time to get going, to get to the point. I realize this is prog, and lengthy songs are expected, but these are longer than the number and quality of the ideas can sustain. What we have here are mostly nice songs that would be solid four minute atmospheric rock, then stuffed with extra minutes of meandering instrumentals to bump them up to more epic proportions. There just isn't enough material in each song to keep them interesting for six, eight, or even more minutes.

The actual music on the album is by no means bad. Everything here is actually quite good. The vocals have the disaffected air that fits the lyrical themes, the melodies are solid, and the guitar soloing is especially good. The problem is that, as I said, this is a forty minute record that gets stretched ten to fifteen minutes too far. Even when they're going something good, which is often, it feels like a labor to get there. It's hard to enjoy the good moments when you just had to get through three minutes of needless music to get there.

I can see why people like Airbag, and there are things about "Disconnected" that make me want to like them quite a bit. They have a good sound, and they have good musical ideas. But like a lot of prog, they don't quite have a grasp of why being concise is a good thing as a songwriter, and that if you want to write a ten minute song, you need to have ten minutes worth of ideas. There is some promise on "Disconnected", but it's not an album that showcases what Airbag is probably capable of.

Album Review: The Jelly Jam - "Profit"

As a rash youth, the phrase “progressive super group” would have just about tested the limits of my musical tolerance, two out of the three words being catalyzed trigger words that would have sent me on a tirade railing against my friends who held things like time signature and poly-rhythm over the heads of ‘normal, shallow, pedantic’ music listeners.

Thankfully, we’ve all grown some and learned that musical definitions are malleable in ways that most other definitions, even artistic ones, are not, so therefore, the idea that King’s X, Winger and Dream Theater could get together and produce material worthy of accolade is much more inviting.  Thus, The Jelly Jam releases their fourth album unto the world and first since 2011, “Profit.”

“Profit” is a concept album meant to not subtly react to the conditions of our times.  It follows the path of ‘The Prophet’ a luminous but weighty harbinger of truth who corrals his Followers (the capital ‘F’ is theirs, not mine,) in an effort to save the world from the aptly named ‘Those Who Will Not See’ and ‘Profiteers.’  The album’s message is one of a dying world subject to destruction due to both environmental and sociological factors, unless The Prophet and his Followers can utilize truth to change the world in short order.

Cynics might make an argument here that “Profit” contains a certain amount of philosophical determinism – that those who value wholesome truth are followers anyway, just followers of a different singular identity who still lack the power to determine their own destiny.  While the Prophet is more likely a convenient way of more easily crafting a narrative around a single entity, there is some weight there, as The Prophet’s followers are called, well, The Followers.

But none of that has anything to do with the music contained herein, which, to some surprise, sounds vaguely reminiscent of the later works of Alice In Chains, and not especially like any of the bands that make up The Jelly Jam.  This is not AiC in that there are long lamentations of wrought and wretched emotion crawling through the muck, but in the sense that the music is very much played out in low tones with quiet power.

The connection occurs most notably twice – first for “Stain on the Sun” which uses a low key, melancholy delivery in much the same fashion as we experienced with Alice In Chains’ “No excuses,” or “Heaven Beside You,”  though without the jangle of acoustic guitar.  Nevertheless, it is the tone of Ty Tabor’s voice that sells a similar story.

The second such similarity comes later for The Jelly Jam’s “Mr. Man,” which thuds heavily with the kind of recurring, infectious thump that Jerry Cantrell infused into classics like “Again” and “Get Born Again.”  “Mr. Man” strikes as the album’s most memorable song, in good part because it stands in heavier contrast to the other tracks.

The Jelly Jam, for all that “Profit” reminds of days gone by more than it is given to flights of progressive fancy, does occasionally find itself in the trap that consumes any number of otherwise talented prog acts, which is that they can get caught in a loop with no exit.  Some of the later cuts on “Profit” like “Permanent Hold” or “Fallen” give way to long musical diatribes that are intricate yes, but repeatable and not wholly exploratory, which makes the pieces drag on unnecessarily.

“Profit” is a fine concept album and a solid lesson in why the tags of genre should not be feared, as the ‘progressiveness’ here is not the high-end flights of fancy that are so often associated with King Crimson or Yes.  That said, the music of The Jelly Jam in this particular instance is interesting but not satiating.

Second Opinion: Volbeat - Seal The Deal & Let's Boogie

* Note: My colleague D.M gave his opinion on this newest Volbeat record, but since this is one of the few times we agree on a record, but not quite an opinion, I am throwing in my own two cents.

I wasn't there at the very beginning with Volbeat, but not long thereafter. I found them just after the released their second album, and wasn't sure what to make of their Metallica meets Johnny Cash sound. It was so unique, and so captivating, that I could sense immediately that they were going to be one of the few rock/metal bands that could break through and garner real mainstream attention. They had a hook that few other bands did. When "Guitar Gangsters & Cadillac Blood" came out, it reaffirmed all of this, and turned Volbeat into one of the best bands in the world (yes, really). Unfortunately, that proved to be their undoing, as the following albums saw them shedding their identity in an effort to keep getting bigger and bigger. Those albums are a blur to me, and I was all but ready to write Volbeat off as a case of what was, and what could have been.

But with an open mind, I went into this album hoping for a return to form. That wasn't the case, but the album was as great as I was hoping, just in a different way.

"Seal The Deal & Let's Boogie" marks Volbeat finally finding the sound they have been searching for. While they don't sound like the band that caught everyone's attention, they have just enough of their former selves in here to remember who we're listening to, but Michael Poulsen and company have mastered the art of radio rock. It's unfortunate that their growing pains had to play out in public, but now that they've arrived, it was all worth it.

There are those moments that still hearken back to the old days. "The Devil's Bleeding" crown has the groovy swagger of Volbeat's past, and "The Loa's Crossroad" is full of pumped-up metal riffing, but those are the exceptions to the rule. For the most part, this is an album that embraces and super-sizes the melodies, with sing-alongs that last for days. If a metal audience can sing along with "Master Of Puppets", imagine what they can do with these songs.

It might sound like heresy, but at it's heart this is a pop record. You can't listen to "Black Rose" without hearing 50s doo-wop in that sticky chorus, nor can you deny that "Goodbye Forever" would be a modern classic if Dave Grohl attached his name to it. By shutting out the expectations of what a Volbeat record is supposed to be, Poulsen has figured out what a Volbeat record is supposed to be. Years pass by, we all age, and with that comes a different perspective. Volbeat is no longer the band that made those early records, and asking them to stay in that form forever misses the point. Songwriters evolve, and sometimes we have to trust that they will find a new golden age. That is what has happened here.

In fact, I would say that the only thing holding this record back from being perfect is the inclusion of the two cover songs. Neither is bad, but Volbeat's identity is so singular that you can easily tell they came from someone else.

Otherwise, and I can't believe I'm saying this, "Seal The Deal & Let's Boogie" has already proven itself to me as Volbeat's best album yet. I didn't think they had it in them, but this album has made me a believer again. Volbeat is back, and they've made what will wind up as one of the best records of the year.

Album Review: Jaded Heart - Guilty By Design

Jaded Heart falls into that category of bands that I feel a bit sorry for. They had a fair amount of success during their early years, but when unmistakable singer Michael Bormann exited the group, a large part of their identity followed with him. The band kept going, and they kept making solid records, but there was something about 'that sound' that was missing. And in keeping with that, I had completely lost track of the band, and cannot for the life of me remember hearing their last few efforts. But I remember liking them, and the first single released was a strong track, so I was curious to see if time has made this version of Jaded Heart feel more like the real thing.

"No Reason" kicks the album off far heavier than I was expecting, with a stomping riff that is much more metallic than the melodic hard rock I thought was going to greet me. It might not be the best approach, since the song comes across a bit bland, like they might be trying just a bit too hard. It doesn't help that Johan Fahlberg's vocals don't stand out. Oh, he can sing, but he has one of those voices that doesn't stand out. He lacks the personality to make him instantly recognizable, which in turn makes the songs feel that way as well.

The material is better when it veers more towards rock than metal. A song like "Remembering" fits the guitar and vocal tone better, which just aren't as metallic as the harder numbers would require. Let's take "Rescue Me" as an example. The opening riffs are pure metal, and the guitar tone is fuzzy enough that the muted chords lack the defined punch they need. But then the chorus dips into melodic rock territory, and it's the best moment on the entire record. It's the one melody that really has a sticky appeal.

And that, ultimately, is what makes "Guilty By Design" a record that will ultimately fade from my mind. It's perfectly fine melodic rock/metal, and it never feels like a chore to listen to, but aside from that one track, there isn't anything on here that I want to hear again. The early years featured plenty of forgettable songs too (Bormann is terribly inconsistent as a writer), but there were always three or four absolute gems to make you keep coming back. Those aren't here, and the record suffers for it. For whatever reason, the melodic writing on these songs isn't up to snuff. The choruses are all too flat and simple to be of interest. They don't stick in your mind, and without that, the chord progressions and riffs aren't enough to make this a must-hear album.

The Spider Accomplice: A Deserving Band Needing Your Help

When we're talking about the music industry, we often think about a giant, soulless machine churning out faceless acts designed for nothing more than separating us from our money. While there is some of that out there, particularly with the major pop labels, the music world is so much deeper and richer than just that. Over the time I've been writing about music, I've had the opportunity to find and help several very deserving independent artists, the people who remind us that music is supposed to be about passion.

Today, there's a band like that who needs your help. The Spider Accomplice is the newest project from singer/songwriter/artist VK Lynn. They are in the process of making their new record, and without the machine behind them, they need an assist from us to get their new music out to the world. They have an IndieGoGo campaign set up for generous patrons.

The Spider Accomplice on IndieGoGo

The Spider Accomplice brings mainstream rock music back to where it's supposed to be, with rich melodic songs that have the eye of an artist, as opposed to the dark slog that much modern rock can be. VK's crystalline vocals are the star of the show, but the band backs her up with texutred songs that more than carry their weight. This is the next evolution of female-fronted modern rock, and you can get in on the ground floor. The Spider Accomplice needs your help, and you owe it to yourself to check them out.

You can listen to their 2015 EP "Los Angeles: The Trap" on bandcamp right now.

The Spider Accomplice on Bandcamp



You won't be disappointed.

EP Review: Candlemass - Death Thy Lover

Before getting to a discussion of the four songs Candlemass is serving up in honor of their 30th anniversary, I have to comment on the fact that this EP is being released at all. A few years ago, when Candlemass released "Pslams For The Dead", it was promoted as their farewell album. They were going to continue playing festivals, because no band ever truly retires, but they were supposedly done as a studio entity. Maybe it's just me, but I don't like it when people go back on their word. If Candlemass didn't intend on retiring from the studio, they could have easily said they were taking a break, or were going to go through changes, or anything. But when they promote a record as the end, I expect it to be the end. Otherwise, I feel like I was lied to. It happened with the Scorpions, and it's happening here. I don't much appreciate it.

But I can put my feelings aside, and judge the music on its own.

The title track leads things off, and is one of the most melodic songs they've ever written. 'New' singer Mats Levens sounds good, and has the proper morose delivery for the material. The big appeal to the song is the chorus, which brings to mind a song like "The Bleeding Baroness". I don't know if the song needs to have a slow, ballad section thrown into the middle, but the rest of the track is solid late-era Candlemass, and is much better than anything off the last album, which was a disappointing way of capping a career.

In "Sleeping Giant", Levens gets even closer to sounding like previous singer Robert Lowe, which I have to say does add in making this not feel like a new era of the band at all. This song fits the mold of all the 'creepy' Candlemass songs, where the main hook of the song mirrors the sinister, minor key guitar riff. It's my least favorite way of writing a song, because it always feels too easy to have the singer follow the riff. If that's all he's doing, why even have a singer?

After that, we get another track that puts the heavy focus on the riffs, and then an instrumental track. That is a confusing choice to make, since every release now could be the last, and going out on a boring instrumental track would be a terrible way to end a career.

I'm assuming there was a reason why Candlemass decided to call it quite when they said they were going to, and despite the title track being a heck of an effort, the rest of this EP doesn't do much of anything to dispel the notion that they were right the first time. This is completely inessential, and mostly just gives them one more good song to fill up the set list on their continued concert presence.